Similar to last year, 2023’s Toronto International Film Festival was mainly an in-person affair, even further limiting access to some of the fest’s biggest titles. That didn’t stop us from consuming some of our favorite movies of the year! Don’t miss our full coverage of this year’s TIFF after the jump.
Films
A HAPPY DAY
(Written by Wyatt Frantz) Throwing its audience headfirst into the dense pit of snow that is Norway’s youth asylum center, A Happy Day takes confident strides in its uniquely stoic, yet absurd style of filmmaking. A desolate premise takes on a more effervescent perspective than one would expect, as a like minded community of teens find ways to enjoy their youth before being sent out into the world. Gunshots that pierce the air of the camp remind them of their unsure fate, but the beautiful, yet menacing snowy mountains looming over them remind them that there is another way. Hisham Zaman’s completely original voice that strikes a perfect balance between the bright and dull sides of the story, using deadpan shots and an occasionally whimsical tone, feels vaguely reminiscent of a bitter Wes Anderson. Stiff performances from some of the cast and a lack of exposition struck me with a slight cinematic whiplash at first. The occasional indulgence in aggressively weird worldbuilding and character development feels out of place. But once Aida’s (Sarah Aman Mentzoni) overdue appearance adds spice to the tired trap of our characters, my interest only grew until the credits rolled. Placing Hamid (Salah Qadi) at a crossroads, his balancing act between adolescence, pursuit of war-stricken happiness, and hallucinations of reindeer make it suddenly obvious that this is not a story that we have seen before. Literal personifications of Hamid’s visions and thoughts make things only more interesting both visually and narratively, advancing the plot while also adding a great deal of character building and depth. If the shoehorned poem recitals from the get go don’t make the thematic intention of the film clear, then an eventual explosion of expressionism will. Turning the confines of the camp into Zaman’s means for self-discovery, interpretive scenes treat its audience intelligently while staying well within the guidelines of its world. Much like tasting snow for the first time, A Happy Day is an acquired taste, spotlighting a fresh voice in the cinema that sneaks up on the audience and explodes in flavor.
A NORMAL FAMILY
(Written by Wyatt Frantz) Perspective tends to change when shown both sides of a story. But when it comes to learning a hard truth, is it worth living in an ignorant bliss, or coping and moving on with life? Imagine making such a choice for one’s children; this is the dilemma at the center of A Normal Family. This riveting family drama leads one down a rabbit hole of social facades and twisted morals that slowly meld with the escalation of its stakes. With that being said, do not let the title mislead, and do not rush to choose a side! As brothers Jae-gyu (Jang Dong-gun), a doctor, and Jae-wan (Sol Kyung-gu), a lawyer, navigate their children’s teenhood with their spouses, the parents frontline tense familial battles between each other concerning rights, wrongs, and fatal consequences. While I would have liked to see more of their kids’ perspectives, which felt excruciatingly important given the conflict at hand, I understand the choice to focus on the parents. It invites the viewer to question their role as decision makers for their kids, and to consider similar, unseen situations that may arise in reality. I wish that focus was even stronger, however, as it takes a while for the story engine to truly start running thanks to subplots we could have done without. The purpose behind most of what is shown on screen is all made obvious in the end, as Hur Jin-ho’s thoughtful direction is made obvious from his emotional compositions, although it is not the most narratively efficient. The overly dramatic performances and comedic overabundance of car crashes did not even bother me by the time I was made aware of those critiques–I was too intrigued in what future lay ahead for the ill-fated family. Calling class disparity, the naivety of youth, and law and order all into question, A Normal Family is an enthralling social commentary that will slowly suck one in and astound.
BOY KILLS WORLD
Full review at the link.
CHUCK CHUCK BABY
(Written by Jonathan Sim, ComingSoon.net) Chuck Chuck Baby is a romance musical of sorts that gets lost in the execution. Parts are handled like a grounded drama, based in deep emotions and character relationships. One of the most emotional aspects is in Helen’s (Louise Brealey) relationship with a maternal figure. Writer/director Janis Pugh seems dedicated to keeping the movie mostly grounded, with characters singing along to preexisting songs the way people do in real life. Far from an average musical, Chuck Chuck Baby recalls a much better music-centered romance, yet fails to live up to its full potential. The actors’ vocals can barely be heard over the prerecorded track, barely qualifying Chuck Chuck Baby as a musical. The pacing lacks momentum, which is more clear with Pugh’s avoidance of non-diegetic music (which she doesn’t fully commit to). It sometimes tries to ride the line between a grounded narrative drama and an elaborate musical movie so much that it fails to stand out in either genre. There are some abrupt tonal shifts as a result. Ultimately, Pugh should have picked a lane and stuck with it. There is some beauty in the narrative, surrounding Helen and Joanne (Annabel Scholey) reconnecting and falling in love later in life. But the quiet, subtle moments are mismatched with Celyn Jones as Gary, a homophobic man with all the subtlety of a villain intent on world domination. Chuck Chuck Baby is not without its feel-good moments of female friendship, but is too dreary and cyclical to revisit.
DEATH OF A WHISTLEBLOWER
(Written by Intern, Robin Price) The truth is hard to come by. Not because people do not want it, but because it is usually snuffed out by those who wish to keep others blissfully ignorant. Writer/Director Ian Gabriel’s seventh film, Death of a Whistleblower, tells the harrowing tale of rogue South African journalist, Luyanda Masinda (Noxolo Dlamini), as she investigates the mysterious death of her romantically involved colleague, Stanley Galloway (Rob van Vuuren). The corrupt government forces will stop at nothing to prevent Masinda from uncovering the truth. She puts herself and those she cares about in jeopardy, causing everyone she is involved with unnecessary suffering. Luyanda comes off as naïve, self-serving, and aggravating, as she painfully tries to convince us otherwise. While acting in reckless abandon, she deludes herself into thinking no one would endanger her in broad daylight. The film presents itself as a serious drama and tribute to those who have lost their lives in bringing political mismanagement to light, but comes up short in its execution. A shallow portrayal of the main character and inconsistent pacing hold back the narrative, leaving it simplistic and lackluster from beginning to end. When discussing subjects as compelling as racism, capitalism, genocide, the exploitative post-apartheid government, and the silencing of informers, one would think a film would surely be more captivating. Regrettably, it feels like a surface-level attempt; Death of a Whistleblower ultimately pans out lukewarm. While relatively stimulating and a commendable effort on highlighting vital issues, I was hoping for more intrigue.
DUMB MONEY
Full review at the link.
FITTING IN
Previously titled a far more appropriate Bloody Hell, Fitting In arrives at TIFF newly branded, with much to prove. Teenager Lindy (Maddie Ziegler, West Side Story, The Fallout) is just like any other girl in her age bracket. She cannot stop thinking about sex, whether in the privacy of her own home, or in the company of her longtime friend, Adam (D’Pharaoh Woon-A-Tai, Beans, Hell of a Summer), whom she has “eye fucked” for months. Decidedly different than others: Lindy has a rare condition know as MRKH Syndrome. As a demeaning doctor explains, Lindy’s uterus and vagina have not developed normally. Not only will she never get a period, but Lindy will need to use many various methods to stretch out her “blind vagina” if she does not opt for surgical measures. The doctor even suggests possibly practicing with a man “not well endowed.” She tries her hardest to hide the secret from bestie Vivian (Djouliet Amara, Hello, Goodbye, and Everything in Between, Seance), while Lindy’s mom, Rita (Emily Hampshire, Schitt’s Creek, The Mattachine Family), tries to be supportive, if not overbearing. Lindy exploring her sexuality and trying to find out where she belongs is entertaining for awhile before it begins to grow redundant. Intersex pal Jax (Ki Griffin, Hollyoaks) and adorable fast food worker Chad (Dale Whibley, Big Shot, There’s Someone Inside Your House) are just two of Lindy’s potentials. Recent films like Sharp Stick or Ninjababy tackled similar subject matter in far more interesting ways. There simply isn’t enough here to stop Fitting In from fading into the crowd in spite of writer/director Molly McGlynn packing in as much of her own experiences as possible. It is simply a movie destined to be forgotten by year’s end.
FLORA AND SON
Writer/director and indie darling John Carney (Once, Sing Street) returns for his latest, Flora and Son. Flora (Eve Hewson) is just a single mom trying to do her best to raise her son, Max (Oren Kinlan). Sure, Flora forgets a birthday here or there, and she loves partying more than she seems to love spending time with Max. Flora can’t even seem to get on the same page with 14-year-old Max, relegating their relationship to a series of heated arguments. A good gesture in gifting Max a guitar turns sour when Flora realizes the only instrument Max needs is his computer. Instead of wasting the freshly-purchased item, Flora begins professional guitar lessons over video-chat with charismatic Jeff (Joseph Gordon-Levitt). Flora and Son puts emphasis on this romantic relationship early on in the film, but the movie ultimately chooses to hone-in on the mother/son bond instead. The choice to shift focus will frustrate some viewers (myself included), who were hoping for a return to the silky sweetness of Once. Flora and Son has beautiful catchy tunes, but the lacks the narrative heft to convincingly string them together. Nonetheless, this is not a bad movie, but rather one I had hoped to connect better with.
HEY, VIKTOR!
Full review at the link.
Humanist Vampire Seeking Consenting Suicidal Person
Full review at the link.
INSHALLAH A BOY
Full review at the link.
KANAVAL
(Written by Intern, Robin Price) To get lost within one’s imagination is a great power; the young protagonist in Kanaval finds himself doing just this quite often in order to cope with his new life. Director/Screenwriter Henri Pardo guides the viewer through the eyes of a boy who immerses himself in fantasy to escape from a difficult reality. Based in 1970s autocratic Haiti, Rico (Rayan Dieudonné) flees to a rural town in Quebec with his mother, Ezrulie (Penande Estime), after watching her be savagely beaten due to her connection to rebel forces. Arriving in Quebec, Rico deals with a freshly strained relationship with his mother, while also experiencing the newfound ire of some residents juxtaposed with the love of others who inhabit his small town. He is trapped in an unknown environment with unpredictable people, and faced with a brutal understanding that his mother finds his presence disdainful. Pardo delves into topics of racism, religion, trauma, parental estrangement, societal roles, immigration, and how it affects Rico’s mind and actions. Dieudonne’s performance sucks the audience in, leaving one breathless, anticipating what will unfold in the next scene. A gut-wrenching fantastical drama, Kanaval has a different take on the coming-of-age genre, while keeping the viewer on the edge of their seat from start to finish. The title successfully delivers on most aspects, but sadly leaves behind a gripping feeling of emptiness in the manner in which Rico and his mother reconcile. This segment comes off rushed and unfinished; an actual apology is never seen between the two, and the story arc is dropped too soon. Despite a few plot holes, Kanaval will leave the audience with a lasting impression in its heartwarming story and strong character performances.
MANDOOB
(Written by Jonathan Sim, ComingSoon.net) Mandoob is a movie with a total of two good ideas. The first is the setup for the main character, Fahad Nassir (Mohammed Aldokhi), establishing his backstory after being fired from his job at the call center. The second occurs in the last ten minutes. Everything leading up to that feels like it is building up to something that never fully takes shape. The screenplay gives Fahad a personal reason for actions taken with his ill father. The rest is a tensionless story of a man down on his luck. Meandering along without enough substantial content to justify the runtime frustrates more than entertains. The first act is one of the strongest portions of the movie, but the second act needs a lot of work, having very little momentum. There is only one major narrative turn in the second act, when Fahad decides to steal six cases of counterfeit whisky in an attempt to make money. However, this does not happen until over an hour into the runtime, when it belongs as the inciting event. A counterfeit whisky theft could have been an interesting criminal act, but the ramifications don’t fully land until the final ten minutes, which is what the entire movie should have been. The rest of the second act is largely one-note and uninspired. Mandoob does not lean into dark comedy, drama, or thrills nearly enough.
THE QUEEN OF MY DREAMS
Full review at the link. Allison also interviewed actress Amrit Kaur.
REPTILE
Never has a movie so badly wanted to be Gone Girl than Netflix’s mystery thriller, Reptile. Carrying all the subtlety of a bag of bricks, co-writer/director Grant Singer’s mystery is not engaging whatsoever. When the brutal death of real estate agent Summer paints nearly everyone surrounding her orbit as a potential suspect, bland detective Tom Nichols (Benicio del Toro) arrives to solve the case. Nothing is as it seems—could answers lie with Summer’s current beau, Will (Justin Timberlake), another wealthy real estate agent? Or perhaps someone else, like Summer’s currently-separated spouse, Sam (Karl Glusman), or her disgruntled trashy neighbor, Eli (Michael Pitt), are actually involved? Reptile attempts to emulate the greats, but lacks the writing to pull any of this off convincingly. The leads are grossly mismanaged; Nichols bores as the lead, almost flatlining each time the story shifts to his perspective. Any goodwill built dissipates entirely during a lackluster, underwhelming finale. An ensemble cast this great deserves better.
RU
(Written by Intern, Robin Price) Based on Kim Thúy’s award-winning novel of the same name, Ru is filled with unsettling silences and mesmerizing visual storytelling. The film depicts the coming-of-age saga of a young girl, Tinh (Cholé Djandji), and her family’s treacherous immigration to Canada from Vietnam after the fall of Saigon in 1975. Tinh is forced to flee her war-torn home and abandon her old life, all while adjusting as a new Canadian citizen in Quebec. For a character with such complicated internal turmoil, Cholé Djandji’s performance unfortunately stays one note and unemotional, missing the mark of what writer/director Michaud is most likely trying to portray. Her presence on screen comes off as doll-like, which makes the few times she shows emotion while reminiscing about her escape feel hollow. Although I came to care about her tribulations, an impenetrable barrier exists between Tinh and the audience. Performances are generally of average quality, aside from a handful of standout moments. Jean Bui, when playing Tinh’s father, Minh, is particularly strong in a scene where he shares why his family urgently needed to leave Vietnam. A deep lingering sorrow emerges whenever a flashback depicts these horrors experienced by the “boat people” on their journey. Stunning cinematography is perhaps the strongest aspect of the film. Sprawling shots of snowy Quebec are juxtaposed with the dreary ambiance in the cramped boat, and ransacked areas of military occupation. Ru is a beautifully shot and meaningful tale of growth and personal acceptance. Michaud, however, focuses more on style over substance, leaving little meat on the bones of the narrative. As much as I commend his efforts to shine a light on a less talked about cultural event, the end result comes up short.
SEAGRASS
(Written by Intern, Wyatt Frantz) The youthful, ignorant bliss of vacationing to a family beach house is a liminal memory for many. This is a relatable experience that Seagrass gently taps into, repainting it in a less optimistic, more grounded light. Contrasting modern growing pains with adverse upbringings, there is a suggestion that the resulting memories are but small rifts that grow into tsunamis, driving forward a timeline of the troubled American dream. However, subtle storytelling and stiff characters make such a conclusion difficult to realize at first glance. Judith (Ally Maki) and Steve’s (Luke Roberts) marriage counseling is disguised as such a getaway. Their daughters, Stephanie (Nyha Huanga Breitkreuz) and Emmy (Remy Marthaller), are pitted with other kids in the same boat, in a summer camp for the unaware. Childish rumors of the dead haunting vacationers from a nearby cave lead Emmy into bouts of anxiety from visions of her deceased grandmother. Judith answers to her worries, as she struggles to juggle raising her daughters with her unresolved past and Steve’s unapologetic masculinity. While the slow, naturalistic storytelling offers a new window into moments that feel lived in, a surprising lack of nuance seldom displays how Judith and Steve’s broken relationship would bleed into their daughters’ lives. This only comes to fruition in a heart-racing final twenty minutes, although the credits roll too soon after. Cycles of brief suspense and resolve pace the narrative until then, driven by otherworldly dolly shots that seamlessly glide through scenic landscapes that suggest a haunting presence. We are regularly given hints as to what could propel an impactful journey for the family, between Judith’s repressed past or passing racist remarks, but the narrative doesn’t expand far beyond the intimate aesthetic it first establishes. Treating its audience as an observer, one is left feeling like an outsider to the emotional core of its characters. The passiveness of the story begs to ask why such life constants are so deeply ingrained in an unsatisfying reality, but a weak story engine and refusal to offer its own take on the matter renders it unengaging.
SLEEP
Full review at the link.
SMUGGLERS
(Written by Intern, Wyatt Frantz) Smugglers offers a unique glimpse into a lesser-seen corner of South Korea’s crime scene in this fast-paced, exhilarating revenge tale. Blending a large, fleshed out cast with action-packed genre filmmaking reminiscent of Tarantino, crashes and bangs lie around every corner. This is especially true for its larger than life premise that blends the worlds of freediving, trafficking, and the classic good cop bad cop storyline. The big budget and high production value manage to craft as riveting an experience as such a description lends one to imagine, with an abundance of beautifully colored shots that authenticate its uniquely charismatic world. The performances opt not to convey a sense of realism, rather leaning into the fun, unnerving energy of a narrative that escalates with each minute of its runtime. A jazzy, groovy soundtrack always manages to bring out the amusing tone that lies underneath every scene, no matter how gruesome or gory it gets. Still, I found the drug fueled drama more emotionally powerful than the comedy this sets out to be, thanks to the deep familial conflicts and the all-around high stakes. This is by no means a downfall—there is a fair share of slaps, laughs, and flat out goofy twists that work, although weakening the film’s overall identity. While it is a fun ride all around, it is riddled with exposition that will rack one’s brain, with new pieces that are always being added to the puzzle. It may feel hard to keep up with, but still serves to flesh out an intricate, well thought out history behind our characters, that all amounts to a satisfying payoff. Whether or not one opts to debunk the story’s intricacies, the stimulating environment and enjoyable story make it just as feasible to go with where the tide of the narrative takes them. Get ready to dive in, because Smugglers is worth holding one’s breath for.
SOLITUDE
(Written by Intern, Wyatt Frantz) Director Ninna Rún Pálmadóttir’s bittersweet ode to loneliness manages to creep into one’s heart before rendering them speechless. Gunnar’s (Þröstur Leó Gunnarsson) vast Icelandic pasture sets the stage for the film, before he is forced to sell it to the government for millions. His stoic lack of reaction to the contractor is a testament to his reclusive, asocial personality. After saying goodbye to his beloved horses and the atmospheric landscape, he moves to the city and meets Ari (Hermann Samúelsson), a very young yet friendly paperboy. Denying Ari’s first attempts to deliver the paper to him, Gunnar tries to shut him out of his isolated lifestyle. A few conversations and a chess game later, Gunnar warms up to Ari, and goes on to form a deep attachment with him. As Ari continues to fill a void in old Gunnar’s life, how far will their atypical relationship grow? The seventy-five minute runtime boasts a story of smaller scale, yet it is still just as strong as any other existential drama out there. Such emotional impact is difficult to find in a film that is both short and slow in pacing, yet Solitude finds success in its tender performances and intimate cinematography. Atmospheric Icelandic rurals interlaced with diegetic, soothing piano pieces from next door work together to create a cold, yet homely landscape of a comforting winter cityscape. The adorable attachment between Gunnar and Ari drives the narrative forward, which starts to lose steam as it takes its time to get to the root of the conflict. When it does, however, it cuts deeper than one would expect, leaving its audience with longing and hope for the characters. It leaves a lot of open air, which may leave some with a lingering sense of inconclusion, but plenty of room for discussion and rewatches nonetheless. Doing justice to its frank title, Gunnar’s loneliness bleeds in between the lines of this successful, visually-driven poem commemorating human connections and fulfillment.
SOLO
Oh hey, it’s a new queer romance/drama set in the Montreal drag scene! My obsession with all things RuPaul’s Drag Race and adoration for the art of drag means every single project popping up, especially at festivals, shoots up my list. Writer/director Sophie Dupuis brings a unique gay story to TIFF, both set in and filmed in Canada. Drag performer Simon (Théodore Pellerin, There’s Someone Inside Your House, Boy Erased) may have found his “creative partner” and possible love of his life in the form of new blood Oliver (Félix Maritaud, BPM (Beats Per Minute), Knife + Heart). At the same time, Simon’s famous mother whom he has not seen in fifteen years comes back into the picture, requesting to take Simon and his sister to supper. Simon and Oliver become a drag duo, feeding off each other’s energies. A toxicity begins to creep in as Oliver’s true colors slowly reveal themselves. Expectations played a major role in my mixed feelings towards Solo, namely because I felt a little misled. Though being sold as a general romance, Solo is a simple character study without much substance. Simon walks a shaky tightrope of his own sanity, and Oliver gaslights him at every turn. Théodore Pellerin’s performance definitely begs for at least one viewing.
SPIRIT OF ECSTACY
(Written by Intern, Wyatt Frantz) There is a suggestion that in today’s professional world, a predetermined set of gendered guidelines and personality traits are the formula for success. Héléna Klotz’s Spirit of Ecstasy carries a commentary that goes against the grain of these modern workplace expectations, suggesting a greater importance in being yourself. It follows Jeanne (Claire Pommet), a non-binary genius who comes from a military family, fighting to break into the world of finance as an intern at a top-competing firm. Using her smarts, she replaces a computer scientist and writes a breakthrough code automating the firm’s buy-ins to the stock market. Capturing the attention of her boss, Farès (Sofiane Zermani), Jeanne is taken under his wing. After helping him negotiate deals for the firm, Jeanne secures a job as a quant with his new hedge fund abroad in Singapore. Little do they know, betrayal lies ahead. All the while, Jeanne must balance their personal life with their professional endeavors, as they make amends with their former lover, Augustin (Niels Schneider). While the plot tries to mesh a subversive biker aesthetic with a world of wealth akin to The Wolf of Wall Street, it falls short with dialogue that feels posh and empty. Regular bouts of business-talk and smart-sounding terminology would have been better replaced by lines of dialogue used to convey a sense of purpose. A resulting lack of conflict and understanding for our characters results in a narrative arc that feels empty, failing to answer the question of why Jeanne’s story is significant. From a visual standpoint, however, Spirit of Ecstasy is somewhat of a technical marvel, with strong cinematography and intelligent pacing used to craft emotional swells and tender moments. Regardless of the story’s faults, Jeanne’s journey to chase the bag carries enlightening messages on class and flaws in our modern social landscape in this double-edged blade of a film.
UPON OPEN SKY
As far as foreign dramas go, Upon Open Sky was definitely one of the most disappointing I caught this year. The film actually starts off in a promising manner—a boy and his father stop for gas, headed to Santa Cruz for their uncle’s ranch. A horrible head-on collision occurs that same day, resulting in the father’s abrupt death. Two years later, the family is still trying to return to normalcy. Eldest son Fer (Maximo Hollander) manages to track down the old trucker who was in the other vehicle. Blaming the man for his death, Fer leaves with young Salvador (Theo Goldin), his stepsister, Paula (Federica Garcia), and her boyfriend, Eduardo (Sergio Mayer Mori), for Piedras Negras to confront him in person. They get permission from their mother and stepfather under the guise of going elsewhere. Fer brings along a gun to ensure justice will be enacted. Upon Open Sky made me uncomfortable with its displays of animal cruelty, and frustrates in its refusal to give catharsis to the characters. What I wanted was a pulpy road trip revenge flick, but the script from Guillermo Arriaga would rather dwell in dark moral complexities and sibling dynamics. Upon Open Sky commits the cardinal sin: while it may look pretty, the sun-drenched movie bores more than entertains.
WITHOUT AIR
(Written by Intern, Wyatt Frantz) Although marketed as an “absurdist debut feature,” Katalin Moldovai presents a striking, socially aware intersection between politics and the public school system in Without Air. It all starts when Ana Bauch (Ágnes Krasznahorkai), a standout 11th grade literature teacher, recommends a homosexually decorated film to her class that covers the life of a poet they are discussing. When star student and literary mastermind Viktor (Soma Sándor) is caught watching it by his conservative dad, a complaint is submitted against Ana, forcing the school into a rough legal spot. Under pressure to receive city funding for an upcoming celebration, Eva (Tünde Skovrán), the staunch school principal, forms a makeshift ethics counsel who votes to reprimand her. Even though she is hailed as an instrumental teacher to the school, hopes for her case are but a downward spiral. But that’s not the end of the line for Ana, who appeals the decision, making it clear that she will not teach at all if she can not teach freely. Eva’s clashing concerns about her school’s public image blow the situation out of proportion. While Eva’s can be seen as an antagonist, the fight against the system remains at the core, as Krasznahorkai poses a stark contrast between teachers who are indifferent versus those who exceed expectations. Ana’s impact is made visually and metaphorically apparent as performance and mood shifts around her presence, with a hypnotic and determined performance that begs viewers to root for her. Such conscientious filmmaking is a testament to how successfully it is shot, boasting warm, soft colors composing a high school interior that feels heavenly and inviting. Each scene radiates an emotional aura that grows stronger with the runtime, grounding one in realism before exploding into a riveting quest for justice. A Hungarian love letter to educators who truly care about their pupils, Without Air tests the boundaries of public education in this tense, scandalous drama.
Allison’s Ten Favorite Films
My favorite film was Boy Kills World, a colorful extravaganza of stylized violence and dark comedy. Allison had quite the eventful fest, checking out a grand total of 44 titles. In addition to her ten favorites above, Ru and The King Tide deserve an honorable mention for absolutely stunning cinematography. Our intern, Wyatt Frantz, has done some exceptional work, carrying much of our festival coverage this year. This is his last festival with us; we will miss him, but wish him luck on all of his future endeavors! We also interviewed the director of Boy Kills World at the top of TIFF, who revealed some exciting aspects about the making of his frenetic feature film debut. Next year, perhaps the stars will align, and we can finally experience TIFF in person! Until then, it’s time to close the chapter on another solid year.